There is a sense of abandon and creative exuberance on this album, essentially the re-birth of The Bad Plus, in that this new iteration seems to be the band they always wanted to be. Having previously worked with two pianists, Ethan Iverson (for some 18 years) and Orrin Evans (for three years), Anderson and King, under whom the band’s stewardship resides, felt they had said all that they wanted to in a piano trio configuration and settled on Speed and Monder, whom both had known well (having recorded and performed with them). At a stroke the band sound revitalised – check out ‘Sun Wall,’ ‘You Won’t See Me Before I Come Back’ or ‘The Dandy’, all King compositions, that chart the band’s new direction of travel. It’s effectively a brand new band sound under The Bad Plus moniker, albeit with heightened iconoclastic leanings, yet retaining their subversive and wide angle eclecticism that pulls in other musical influences. It makes for the kind of edgy yet accessible appeal of the sort that made The Bad Plus stand out when they first burst onto the scene with albums These Are The Vistas and Suspicious Activity in the early 2000s.